It is only a short while since I reviewed another new recording of Handel's Op. 3, by Roy Goodman and the Brandenburg Consort. Here we have performances by the Canadian period instrument ensemble, Tafelmusik. Tafelmusik play only the six concertos of which Handel's authorship is undisputed. Goodman further included the spurious Concerto in F major (No. 4B) which, though not by Handel, nevertheless appeared in Walsh's first edition of Op. 3. While I can understand the reasons for omitting this rogue concerto, its presence among more illustrious neighbours provides scope for interesting comparisons, and anyway it is an attractive piece in its own right.
Having said that, it is the new Sony version which, in respect of finesse and vitality, has the edge on the Hyperion. Tafelmusik favours marginally brisker tempos in almost every instance and is sometimes rhythmically more supple and bolder in the application of ornaments than the Brandenburg Consort. Yet such details are a matter only of degree since both versions offer a lively and engaging picture of these delightful concertos. Where Tafelmusik comes out comfortably at the head of any league table is in the sheer virtuosity of its playing and the easy gracefulness of its phrasing. Strong accents are not over emphasized and, though vigorous, there is nothing aggressive in this approach to the music. Sometimes I felt that the dances were pushed along a little too hard—the Menuet of the beautiful Second Concerto is a case in point though, it must be acknowledged that the tempo marking is vivace. Like Goodman's version, Tafelmusik includes a plucked string instrument among its continuo colloquium; but the latter has larger reinforcements at the top and bottom of the string texture and this does give the performances a greater radiance.
In short, this is a fine issue impressive both for its stylistic fluency and its infectious response to Handel's music which could not conceivably disappoint anyone. The clarity of line and animosity of the contrapuntal argument in the finale of the Third Concerto is superbly realized and it is for reasons such as these that this set shoots to the top of NA's ladder. The disc is beautifully recorded and lucidly documented by Donald Burrows who also prepared the performing edition. Very strongly recommended.'